Ópera

Ópera — marelibri

[BALLET -- PETER PAN/WOMEN]. [HIGGINS, Susan (Artistic Director); PERRY, Anita (Composer); & ELSNER, Dan (Technical Director).]Biblio.com

Peter Pan -- a children’s ballet. . . children and young adult ballet students from the Cascade Athletic Club pre-professional dancers from the Oregon Concert Ballet Company. Artistic Director’s manuscript performance notebook with stage notes Perry’s musical score and updates along with choreography notes.

1984ref. 61448Portland & Gresham OR: Susan Higgins Ballet Instructor & Artistic Director Cascade Athletic Club; Oregon Concert Ballet Co. 1984. 4to. Approx. 250 pp sections separately paginated and unnumbered some numbered in ink several with duplicate numbering consisting of typescript musical score and illustrations many of the pages with extensive ink and/or pencil annotations some updates photocopies with additional revisions many pages with updates taped onto the musical score approx. 200 pp. preserved in archival mylar sleeves remainder 3-hole punched at gutter margin and inserted. Contemporary black vinyl 3-ring binder minor scuffing edgewear still VG exemplar. A wonderful original ballet director’s art direction notebook for the Peter Pan ballet staged in 1984 intended to offer young up-and-coming ballet students at the time to experience live performances and to unify Eastside/Westside Royal Academy of Dancing trained students. It would be 5 years before the Oregon Ballet and Pacific Ballet Theater would consolidate under the direction of James Canfield to form the Oregon Ballet Theatre. This ballet featured four acts divided into The Nursery Neverland Ship of the Pirates and Conclusion featuring solos by Wendy Tinker Bell Peter and Captain Hook over the length of the production. Dancers 4-5 years old were featured as the Neverland Fairies 5-7 years old with 2 years of training and pre-primary Royal Academy examinations behind them played Forest Fairies; Lost Children were 6-9 years old and had performed Barre and footwork; followed by the Pirates and soloists including Wendy Heather Miller Peter Pan Laura Spradlin Captain Hook Elizabeth Johnson and the mermaids drawn from the Lake Oswego School of Ballet under the directorship of Christine Donald. The original score by Anita Perry b. 1960 an up-and-coming Canadian composer out of British Columbia where she had studied piano with Lee Kum Sing and composition with Cortland Hultberg. In her early 20’s M. Perry had already won several composition awards was known for her original ballet works and wrote this score with orchestration for a variety of instruments “lending to the performance. . . a more closely approximated real environment experienced by professional dancers.” Peter Pan as a ballet required a fair amount of athleticism and as indicated here in Higgins’s artistic director’s notebook required extensive choreography changes scene adjustments and revisions by M. Perry. Higgins studied and danced at the British Royal Ballet later with Elvie DeMarko 1924-1989 of Ballet Russe and then with Robert Barnett of the Atlanta Ballet. No similar notebooks or programs survive for this 1984 ballet and there are no recordings or printed musical scores this cataloguer could uncover. Susan Higgins, Ballet Instructor & Artistic Director, Cascade Athletic Club; Oregon Concert Ballet Co., unknown

Zephyr Used & Rare Books · Estados UnidosUS$ 550,00≈ € 491,38

African American Opera SingersBiblio.com

African American Music History Black Women Opera Singers and Classical Performers 1957-1977

1957ref. 208291957. Press photograph archive of African American women opera singers 1957-1977 documents the emergence and international recognition of Black performers within mid twentieth century classical music and operatic institutions. The images center on four prominent singers whose careers developed during and after the era of segregation when access to major stages and audiences expanded unevenly for Black artists. Figures such as Marian Anderson who broke barriers at the Metropolitan Opera in 1955 established a precedent for subsequent generations; the performers represented here advanced that presence through sustained international careers providing visual evidence of African American participation in elite cultural institutions during a period of social and cultural change. Six black and white silver gelatin press photographs each approximately 8 x 10 inches with captions and markings on recto and verso. Subjects include Adele Addison in two studio portraits from the 1950s later known as the singing voice for Bess in Porgy and Bess 1959; Shirley Verrett in two images including an early news photograph prior to a performance at Ambassador College Auditorium and a later 1976 stage portrait in formal concert dress; Martina Arroyo in a 1977 portrait during the height of her international career; and Grace Bumbry depicted in costume as Princess Eboli in Verdi's Don Carlos at the Metropolitan Opera in 1965. The photographs capture both staged publicity portraits and performance contexts documenting professional presentation and artistic identity. Produced during decades of expanding civil rights advocacy and gradual institutional integration the archive situates African American women within a field historically shaped by exclusion and limited access. Their visibility in major opera houses and concert venues reflects broader shifts in cultural recognition and professional opportunity while also underscoring the continued significance of performance as a site of racial and gendered representation. Minor edge wear; captions remain legible; overall very good condition. unknown